During the past century, Edmundo O’Gorman, Tzvetan Todorov, Enrique Dussel and other scholars pointed out the Eurocentric perspective implied in traditional narratives about the discovery of America, most of which intended to confirm Europe as the center of world history and culture. At the same time, Claude Lévi-Strauss, Hayden White and others argued for the mythical character of history. According to them, even though historians attempted to assemble documentary evidence objectively, they constructed their narratives incorporating such evidence in preexisting stories, characters and categories with a mythical origin. This paper uses these viewpoints to analyze and criticize the way in which Chilean musichistory has been constructed, particularly during the re- publican era. The main hypothesis is that traditional discourses about that history have constantly recycled narratives on the discovery of America, which thus operates as a kind of founding myth for historical and musicological interpretations, especially when dealing with turning points such as the change of dynasty (1700), the beginning of independence (c. 1810) and the centenary of the republic (1910). A corollary would be that documentary evidence about music has been frequently hidden or distorted precisely in order to fit such a myth. That is why the present paper examines both bibliography and original documents found in different archives.
Gaining Approval for the Thesis in the Graduate School, and Final Destination of the Thesis. One copy of the thesis in MusicHistory and Literature or thesis in Music Education must be submitted to the Graduate School by the date established by Graduate Student Services for graduation in a particular semester; this is usually about two weeks prior to the end of the examination period in the semester. The date is also published in the monthly Graduate School electronic newsletter, which the graduate adviser in music distributes to music graduate students via the music-grads listserv. Theses in MusicHistory and Literature and theses in Music Education become part of the circulating collection of the Golda Meir Library.
anthologies that is also complicated by the variety of editorial styles that the student must learn in order to get to the music itself. At times C-clefs and various, older clefs are used; conventional barring is part of many editions, but in some cases Mensurstrich is used with some styles of early music, with the editorial barlines between the staves (rather than over them) to reflect the
Music genres—such as improvised music (jazz, free—see below), percussion ensembles (African, samba—Naughton 2009, Dearling and Kigongo 2008), digitally-centred forms such as rap and dance music, pop and rock (Rimmer 2009)—are often the focus for engaging participants, particularly young people, given the emphasis of, for example, in the United Kingdom, the Music Manifesto (Rogers, 2006). More traditional forms of participatory music-making such as folk, brass bands and so on (Everitt 1997) have been debatably less prevalent in community music-making as opposed to amateur music-making; though arguably folk is more significant in Ireland’s community music (Higgins and Campbell 2010). While professional orchestral and opera activity in the community— outreach programmes—may have been about audience development (Price 2002), there is evidence of a more nuanced understanding as well as of a shift in practice towards greater community and learning activity, with family and community orchestras, for instance (Everitt 1997, Cahill 1998, Addo 2002, Kors et al 2007, Bates 2011).
We utilized a survey research approach to explore students’ responses to the NYT “1619 Project” article and podcast focused on Black contributions to American pop culture music. During a three-hour college course, students began the survey over a 45-minute period. The students engaged with the NYT 1619 Project material, then re-took surveys over another 45-minute period. The measurement instrument that was developed and used to test students’ knowledge of Black musichistory was based on Black musichistory information found in the article and podcast. The instrument is composed of multiple choice questions, each of which has one correct answer. For example, one question asks, “Which of these is a major issue Whites had with Black artists? a. Black artists kept stealing and remaking the music of White artists; b. Once all Black people learned to read, they would eventually rule over White people; c. “Black culture” was becoming more popular and Whites were becoming obsolete; d. Black people were not purchasing enough goods and services from White people.” The indices for both the pre-test and the post-test were computed by totaling the number of correct answers.
This is a powerful argument in its own way against a more conventional Austro- German canonical view of history, and one which has informed some of my own teaching of musichistory. But Cox aptly demonstrates how problematic is its rendition at the hands of Taruskin. To attempt to posit a clear separation between Mozart and the Austro-German tradition which followed him is already fraught with difficulties, particularly on account of the fact that it took quite some time before he was widely appreciated in France in particular. The links between Rossini, Auber and Gounod are tenuous at best; for Taruskin it seems mostly to suffice to place them together on grounds of being non-German. But, in France and Russia in particular, there were (something not really followed up so much by Cox) very strong attempts to develop operatic idioms pointedly different from the still-dominant and highly
 MusicHistory 102: a Guide to Western Composers and their music, Robert Sherrane, “ipl2: information you can trust,” Drexel University, http://www.ipl.org/div/mushist/MP3/brandenburg.mp3, visited February 20, 2011.  http://upload.wikimedia.org/wikipedia/commons/4/44/Claudio_Monteverdi.jpg, visited February 20, 2011.  http://upload.wikimedia.org/wikipedia/commons/1/1b/Antonio_Vivaldi.jpg, visited February 20, 2011.
accidental reference: a composer who famously avoided confronting head-on the music historical challenge represented by Beethoven’s symphonic achievement and found an alternative to the messianism, represented above all by Richard Wagner, in academic musichistory and nostalgic folklore. Brahms would take up both Baroque compositions and the Volkslied, providing each with his own revisions. The same basic impetus underwrites Brahms’s interest in both aspects of the German musical tradition. They are both ways of returning the past to the present. When Advis decides to write a cantata whose musical elements are based in the folkloric appropriations of Nueva Canción, he follows the same line of thought. He demonstrates the closeness of the Baroque popular to the folk popular. The cantata he has in mind is not that which reached the New World from Spain in the 18th century. These were relatively simple compositions, often for solo voice. Advis’s model is closer to Bach and Handel. In both Advis’s Santa María de Iquique and his Canto para una semilla, spoken relatos replace recitative. Canciones replace arias and these are interspersed with instrumental interludes and choral commentary. The Baroque cantata appears here in
men who listened to misogynistic lyr- ics showed increased aggressive re- sponses toward women as well as a more negative perception of them. In a study in which adolescents who preferred heavy metal and rap music were compared with those who pre- ferred other types of music, results in- dicated that the former consistently showed below-average current and el- ementary school grades, with a history of counseling in elementary school for academic problems. 14 A study per-
The most striking exemplar of this process during our fieldwork was at a concert by Rachid Taha in November 2005. His first concert date, early in November, was cancelled at the last minute, amid rumours of visa problems (Taha is Algerian and resident in France). A group of Spanish fans whom we talked to outside the Vicar Street venue that night were cheerfully unsurprised by his non-appearance – he has a reputation for living out the dissolute lifestyle of rai music – and showed us photographs of concerts of his that they had attended in Spain and France. However, the event was successfully mounted at the end of the same month, and the Vicar Street venue was full. This is a venue in many ways symbolic of Celtic Tiger Ireland. Situated on James’s Street, in the heart of medieval Dublin, close to Guinness’s Brewery and a stone’s throw from the Brazen Head – the ‘oldest pub in Dublin’, and once a fine traditional music venue – it has a sleek-lined bar that radiates affluence and is separate from the auditorium, which consists of a large dance-floor usually set up with small, round tables and seating, surrounded by fixed, low-tiered seating at the outside and an upper circle of seating above this. There is table service during concerts. In class terms, therefore, it is decidedly middle-class in comparison with the SFX venue.
skills by objectifying their thoughts with words. Humans are constantly thinking, logically and illogically, quickly and slowly. According to Reimer, writing and reading allows people to organize their thoughts outside of their minds onto paper, which externalizes them immediately in their current state. Reimer likens this to the function of music with feeling: “Human beings constantly feel. Feelings flood our minds and beings in a never-ending stream or torrent, overlapping, rushing ahead or slowing down, mixing together in countless blends, whirling around then shooting off in different directions. Internal feeling- subjectivity or affect- is not, in and of itself, linear and logical in its organization; it is more like a whirlpool in its dynamic structure.” 44 In response to these feelings,
There has been foreign music influence on traditional Thai music since Ayutthaya period. Pi Jawa (Java flute), Klong Jawa (Java drum) and some traditional Thai song with foreign title have been legally and literally evident in Ayutthaya era. Some said that Thai people are open-minded in music, harmonious mixing overseas music culture with their own. Ethnomusicologists have seen this social phenomenon via music context and explained the revolution of traditional Thai music differently from the acceptance of music in general. This article reviewed the acceptance of Indonesian music, including Javanese music from Central Java and Sundanese music from West Java, into the Javanese Idiomatic Melody in traditional Thai music and Angklung Thai style. Indonesian music was seriously and forcefully deculturated. Playing technique has been adjusted to suit Thai music playing. Tuning system of Javanese Gamelan in Thailand has been fine tuned to conform to that of Thai music. Physical appearance of Sundanese Angklung has been replaced with Angklung Thai style. Javanese song have undergone music elaboration and rewritten to satisfy Thai musicians, with approval from elite Thai musicians and previous Thai music institutes together with Thai people in the society.
University of Huddersfield Repository Holloway, Michael L Music in words the music of Anthony Burgess, and the role of music in his literature Original Citation Holloway, Michael L (1997) Music in wor[.]
(h) For the purposes of paragraph 2(a) to (d) above, a collection of tracks shall only be considered a bundle if is (i) put together or otherwise approved by the relevant record company (or companies) or (ii) put together by the Licensee (provided permission of the owner of the relevant sound recording rights or artist (or artists) has been obtained and that the bundle is purchased as a whole. Collections of tracks assembled by Users are therefore not “bundles” for the purposes of paragraphs 2(a) to (d). (i) Tracks which consist of either public domain Musical Works or non-music works (for example, spoken
The technical and musical demands made upon the trumpet/cornet section of the Hallé Orchestra were not only confined to such institutions of national repute. These demands were replicated across the country during the nineteenth century with the growing festival movement outlined in the previous chapter. Catherine Dale has tabulated all the works performed at the Bridlington Festivals. Thirty-eight composers are listed, of whom thirty were either still living or had died in the previous twenty years, and eight works were commissions of the Festival (Dale 2007: 352–356). As with the programmes presented by the Hallé Orchestra in the season 1884/5 analysed above, the music of Wagner features prominently at the Bridlington Festivals with extracts from his operas Die Walküre, Die Meistersinger von Nürnberg, Der fliegende Holländer, Lohengrin, Parsifal, and the Siegfried Idyll. The trumpet parts in all these operas are demanding and could only be played on a fully chromatic instrument. When considering the number of performances of Handel’s Messiah alluded to above, a curious feature of these concert programmes for the Bridlington Festival is the absence of this oratorio; however, the trumpet obbligato aria ‘Let the bright Seraphim’, from Handel’s Samson, was performed at the 1903 festival.